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Selected by the Modern Library as one of the 100 best novels of all time
From the Modern Library’s new set of beautifully repackaged hardcover classics by William Faulkner—also available are Snopes, As I Lay Dying, The Sound and the Fury, Absalom, Absalom!, and Selected Short Stories
One of William Faulkner’s most admired and accessible novels, Light in August reveals the great American author at the height of his powers. Lena Grove’s resolute search for the father of her unborn child begets a rich, poignant, and ultimately hopeful story of perseverance in the face of mortality. It also acquaints us with several of Faulkner’s most unforgettable characters, including the Reverend Gail Hightower, plagued by visions of Confederate horsemen, and Joe Christmas, a ragged, itinerant soul obsessed with his mixed-race ancestry. Powerfully entwining these characters’ stories, Light in August brings to life Faulkner’s imaginary South, one of literature’s great invented landscapes, in all of its unerringly fascinating glory. Along with a new Foreword by C. E. Morgan, this edition reproduces the corrected text of Light in August as established in 1985 by Faulkner expert Noel Polk.
Under the Cover
An excerpt from Light in August
Sitting beside the road, watching the wagon mount the hill toward her, Lena thinks, ‘I have come from Alabama: a fur piece. All the way from Alabama a-walking. A fur piece.’ Thinking although I have not been quite a month on the road I am already in Mississippi, further from home than I have ever been before. I am now further from Doane’s Mill than I have been since I was twelve years old
She had never even been to Doane’s Mill until after her father and mother died, though six or eight times a year she went to town on Saturday, in the wagon, in a mailorder dress and her bare feet flat in the wagon bed and her shoes wrapped in a piece of paper beside her on the seat. She would put on the shoes just before the wagon reached town. After she got to be a big girl she would ask her father to stop the wagon at the edge of town and she would get down and walk. She would not tell her father why she wanted to walk in instead of riding. He thought that it was because of the smooth streets, the sidewalks. But it was because she believed that the people who saw her and whom she passed on foot would believe that she lived in the town too.
When she was twelve years old her father and mother died in the same summer, in a log house of three rooms and a hall, without screens, in a room lighted by a bugswirled kerosene lamp, the naked floor worn smooth as old silver by naked feet. She was the youngest living child. Her mother died first. She said, “Take care of paw.” Lena did so. Then one day her father said, “You go to Doane’s Mill with McKinley. You get ready to go, be ready when he comes.” Then he died. McKinley, the brother, arrived in a wagon. They buried the father in a grove behind a country church one afternoon, with a pine headstone. The next morning she departed forever, though it is possible that she did not know this at the time, in the wagon with McKinley, for Doane’s Mill. The wagon was borrowed and the brother had promised to return it by nightfall.
The brother worked in the mill. All the men in the village worked in the mill or for it. It was cutting pine. It had been there seven years and in seven years more it would destroy all the timber within its reach. Then some of the machinery and most of the men who ran it and existed because of and for it would be loaded onto freight cars and moved away. But some of the machinery would be left, since new pieces could always be bought on the installment plan—gaunt, staring, motionless wheels rising from mounds of brick rubble and ragged weeds with a quality profoundly astonishing, and gutted boilers lifting their rusting and unsmoking stacks with an air stubborn, baffled and bemused upon a stumppocked scene of profound and peaceful desolation, unplowed, untilled, gutting slowly into red and choked ravines beneath the long quiet rains of autumn and the galloping fury of vernal equinoxes. Then the hamlet which at its best day had borne no name listed on Postoffice Department annals would not now even be remembered by the hookwormridden heirs at large who pulled the buildings down and burned them in cookstoves and winter grates.
There were perhaps five families there when Lena arrived. There was a track and a station, and once a day a mixed train fled shrieking through it. The train could be stopped with a red flag, but by ordinary it appeared out of the devastated hills with apparitionlike suddenness and wailing like a banshee, athwart and past that little less-than-village like a forgotten bead from a broken string. The brother was twenty years her senior. She hardly remembered him at all when she came to live with him. He lived in a four room and unpainted house with his labor- and childridden wife. For almost half of every year the sister-in-law was either lying in or recovering. During this time Lena did all the housework and took care of the other children. Later she told herself, ‘I reckon that’s why I got one so quick myself.’
She slept in a leanto room at the back of the house. It had a window which she learned to open and close again in the dark without making a sound, even though there also slept in the leanto room at first her oldest nephew and then the two oldest and then the three. She had lived there eight years before she opened the window for the first time. She had not opened it a dozen times hardly before she discovered that she should not have opened it at all. She said to herself, ‘That’s just my luck.’
The sister-in-law told the brother. Then he remarked her changing shape, which he should have noticed some time before. He was a hard man. Softness and gentleness and youth (he was just forty) and almost everything else except a kind of stubborn and despairing fortitude and the bleak heritage of his bloodpride had been sweated out of him. He called her whore. He accused the right man (young bachelors, or sawdust Casanovas anyway, were even fewer in number than families) but she would not admit it, though the man had departed six months ago. She just repeated stubbornly, “He’s going to send for me. He said he would send for me”; unshakable, sheeplike, having drawn upon that reserve of patient and steadfast fidelity upon which the Lucas Burches depend and trust, even though they do not intend to be present when the need for it arises. Two weeks later she climbed again through the window. It was a little difficult, this time. ‘If it had been this hard to do before, I reckon I would not be doing it now,’ she thought. She could have departed by the door, by daylight. Nobody would have stopped her. Perhaps she knew that. But she chose to go by night, and through the window. She carried a palm leaf fan and a small bundle tied neatly in a bandanna handkerchief. It contained among other things thirtyfive cents in nickels and dimes. Her shoes were a pair of his own which her brother had given to her. They were but slightly worn, since in the summer neither of them wore shoes at all. When she felt the dust of the road beneath her feet she removed the shoes and carried them in her hand.
She has been doing that now for almost four weeks. Behind her the four weeks, the evocation of far is a peaceful corridor paved with unflagging and tranquil faith and peopled with kind and nameless faces and voices: Lucas Burch? I dont know. I dont know of anybody by that name around here. This road? It goes to Pocahontas. He might be there. It’s possible. Here’s a wagon that’s going a piece of the way. It will take you that far; backrolling now behind her a long monotonous succession of peaceful and undeviating changes from day to dark and dark to day again, through which she advanced in identical and anonymous and deliberate wagons as though through a succession of creakwheeled and limpeared avatars, like something moving forever and without progress across an urn.
The wagon mounts the hill toward her. She passed it about a mile back down the road. It was standing beside the road, the mules asleep in the traces and their heads pointed in the direction in which she walked. She saw it and she saw the two men squatting beside a barn beyond the fence. She looked at the wagon and the men once: a single glance allembracing, swift, innocent and profound. She did not stop; very likely the men beyond the fence had not seen her even look at the wagon nor at them. Neither did she look back. She went on out of sight, walking slowly, the shoes unlaced about her ankles, until she reached the top of the hill a mile beyond. Then she sat down on the ditchbank, with her feet in the shallow ditch, and removed the shoes. After a while she began to hear the wagon. She heard it for some time. Then it came into sight, mounting the hill.
The sharp and brittle crack and clatter of its weathered and ungreased wood and metal is slow and terrific: a series of dry sluggish reports carrying for a half mile across the hot still pinewiney silence of the August afternoon. Though the mules plod in a steady and unflagging hypnosis, the vehicle does not seem to progress. It seems to hang suspended in the middle distance forever and forever, so infinitesimal is its progress, like a shabby bead upon the mild red string of road. So much so is this that in the watching of it the eye loses it as sight and sense drowsily merge and blend, like the road itself, with all the peaceful and monotonous changes between darkness and day, like already measured thread being rewound onto a spool. So that at last, as though out of some trivial and unimportant region beyond even distance, the sound of it seems to come slow and terrific and without meaning, as though it were a ghost travelling a half mile ahead of its own shape. ‘That far within my hearing before my seeing,’ Lena thinks. She thinks of herself as already moving, riding again, thinking Then it will be as if I were riding for a half mile before I even got into the wagon, before the wagon even got to where I was waiting, and that when the wagon is empty of me again it will go on for a half mile with me still in it She waits, not even watching the wagon now, while thinking goes idle and swift and smooth, filled with nameless kind faces and voices: Lucas Burch? You say you tried in Pocahontas? This road? It goes to Springvale. You wait here. There will be a wagon passing soon that will take you as far as it goes Thinking, ‘And if he is going all the way to Jefferson, I will be riding within the hearing of Lucas Burch before his seeing. He will hear the wagon, but he wont know. So there will be one within his hearing before his seeing. And then he will see me and he will be excited. And so there will be two within his seeing before his remembering.’
William Faulkner, one of the greatest writers of the twentieth century, was born in New Albany, Mississippi, on September 25, 1897. He published his first book, The Marble Faun, in 1924, but it is as a literary chronicler of life in the Deep South—particularly in the fictional Yoknapatawpha County, the setting for several of his novels—that he is most highly regarded. In such novels as The Sound and the Fury, As I Lay Dying, Light in August, and Absalom, Absalom! he explored the full range of post–Civil War Southern life, focusing both on the personal histories of his characters and on the moral uncertainties of an increasingly dissolute society. In combining the use of symbolism with a stream-of-consciousness technique, he created a new approach to fiction writing. In 1949 he was awarded the Nobel Prize for Literature. William Faulkner died in Byhalia, Mississippi, on July 6, 1962.